Saturday 4th April 2026
Blog Page 1289

Run, run as fast as you can

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As David Cameron submitted his “final offer” to broadcasters on TV debates yesterday, other party leaders were quick to label him a coward, and rightly so.

But David Cameron and the Conservative Party aren’t only running scared, they are also acting in an entirely un-statesmanlike manner. I hate to agree with UKIP, but their spokesperson was right when he asked, “After praising what a good thing debates were for democracy as recently as 2014, why is David Cameron now acting chicken and running as far away from them as possible?”

The thing is, unless you’re particularly engaged with politics, general elections in this country are quite mundane. News channels will show endless reels of politicians with tired smiles shaking hands with local supporters, workmen and pub landlords, newspapers will carry analyses on the most minute of policy differences, and in the process we will all be thoroughly bored.

The TV debates were a way of reinvigorating popular engagement with politics. If the people can directly question the politicians, and if you can watch the different leaders battle it out on stage, then politics becomes more interesting and people will care more.

What is of even greater importance is that the TV debates are live. No matter how well you script your performance (think Nick Clegg in 2010), if you get a tricky question you’re going to have to answer it, or try to. And the relatively bare production of the debates will expose those politicians that try to wriggle out and leave questions unanswered.

The TV debates are about engaging a population that is plagued with apathy about politics. So if politicians aren’t going to think big and start talking about real changes and visions of the future on their own, let us force them to do so together, live, and on a national stage. That way we can challenge them at least in our own minds, or challenge our perceptions so we can make a better decision at the ballot box.

When David Cameron thinks he has the right to control the format, number and timing of TV debates, we have to question how much he cares about our democracy, about the people he supposedly represents.

The Conservatives I think know full well that opening up the debate to seven parties will dilute its effectiveness. On each question posed, every party leader will want to get their opinion across. But in doing so, the likelihood is it will descend into an uncontrollable and incomprehensible slurry of soundbites. It’s an outrage that any party would allow this to happen, let alone that they would try to make it happen.

Cowardice is one thing. If Cameron feels he cannot debate against Clegg, Miliband, Farage and the other party leaders, I have no sympathy. It is his job after all. But arrogance and an interference with democratic process is quite another.

That a governing party would have the nerve to try and dictate the parameters of debate in the run up to the most significant aspect of democratic engagement for the general public is appalling. The right to choose our MPs and hence our government only comes about once every five years. The least we deserve by them in the meantime is full and free access to information about their views and plans for our country.

I moaned when broadcasters excluded the Green Party and Cameron was right to demand their inclusion. But this was based on the assumption that we would not sacrifice close scrutiny of the major leaders who could end up controlling our government. One 90 minute broadcast with seven parties is not going to be a fruitful means of popular engagement in the run up to the election (especially when it occurs before electoral race even officially begins).

David Cameron’s offer to the broadcasters is cowardly, yes. But moreover it is unfaithful to the public he represents and the manner in which he laid out a “final offer” is appalling. I hope the broadcasters don’t back down, and if he won’t do a U-turn I hope he is ‘empty chaired’. We should be outraged.

Get involved in a worthwhile Oxford charity tournament

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Two Oxford University alumni have organised a charity football tournament with the goal of raising money for two local charities.

Jonathan Fennell, Pembroke, and Jamie Dear, LMH, (both pictured right) decided to set up a charity football league in 2012 to raise money for Jacari, a local charity here in Oxford. The Charity Football League has since arranged this year to hold its first six-a-side football tournament, in addition to the league. It will take place at the Oxford City Football Ground on Friday 17th April from 3-6pm. They already have teams from Balliol, but are still looking for competitors to take part. The tournament is for an extremely worthy cause and is something that anyone who likes playing football, and is in Oxford on the 17th, should definitely consider getting involved in, or even just supporting.

Jacari is an Oxford student charity that has been providing free home tutoring since 1956 for local children aged four to 16 who do not speak English as their first language. The charity started as a result of cooperation between the University Labour, Conservative, and Liberal clubs, and has a history of wellknown backers and high profile speakers supporting the charity.

In addition to supporting Jacari, the tournament will also be supporting SpecialEffect, another very special local charity, dedicated to using technology to enhance the quality of the life of people with severe disabilities by giving them access to video games and life-enhancing technologies. The charity was founded in 2007 and has grown substantially in following years.

Besides great competitive, fast-paced football, there will be a cash bar and trophies for the best placed teams. Team entry is £100 (up to ten players in a squad) with all proceeds going to these amazing local charities.

If you are unable to make the tournament, but would still like to support these great charities and play some football, you can also get involved in the Charity Football League’s spring 6-a-side league which will run from March to September.

This is played at the Oxford City Football Ground.

The Charity Football League is still accepting entries for this event, so if you would like to enter, go to www.charityfootballleague.co.uk/sign-up. 

OUHC optimistic about varsity match

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This Sunday will see the 115th annual varsity hockey match between Oxford and Cambridge being played at Southgate Hockey Centre in London.

The match has a long history, first taking place in Oxford in 1890. The following year, the match was played in London on neutral ground and has been ever since, changing venues a further ten times before the current venue was established at Southgate, which has been the location since 2003.

In total, Oxford has won the match 45 times, Cambridge has won the match 51 times, and it has been drawn 18 times. Previously, if the match was drawn, the previous holders of the trophy would retain it, but 2014 saw the introduction of a shoot-out in order to decide the winner. In the shoot-out, five members of each team are given eight seconds to score in free play against the opposing goalkeeper, which would make for an exciting (and extremely tense) finish to the match.

In recent times, Cambridge have come out on top, winning the trophy three years in succession from 2012. Last year’s match was extremely tight, finishing in a 2-1 victory for Cambridge. For many of the Oxford squad in this year’s varsity, it is likely to be the last varsity they compete in, and will be even hungrier for the win because of it.

This year, the Blues faced some difficult times early on in the season as the team settled in and team members took time to get to know each other. However, the group has subsequently begun to find form, finishing third in their British Universities and Colleges Sport (BUCS) league, and reaching the quarter finals of the national BUCS cup. The team eventually only went out to a strong Durham side.

According to spectators, the squad has also displayed some very promising performances in the Saturday league recently. Team members will be extremely positive going into Sunday’s encounter.

Transport from Oxford is available for supporters to watch the match, but space is extremely limited, so interested parties are encouraged to approach members of the team to book spaces as soon as possible.

Oxford Uni Snooker Club varsity win

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Oxford beat the Cambridge team by a score of 27-5.

The contest occurred on February 28th at Riley’s Pool and Snooker Club in Cowley. The match involved 32 frames in total, with each team member playing four frames of the total.

The captain of the Oxford team, Paul Allen (St Catherine’s), led by example, winning all four of his frames, and scored the highest break of the match with a 31.

Team members Sam Bunt (St Hugh’s) and Gavin Cheung (Linacre) also won all four of their frames, while Sam Bentham (Christ Church), Abrar Chaudhury (Green Temple- ton), Xiaochun Meng (Merton), Alex Pappas (Christ Church), and Chris Speller (Mansfield) each won three of the four frames in which they played.

The match began with some tight frames, but with a series of one-sided wins by Sam Bunt, Alex Pappas, and Gavin Cheung, Oxford raced to a swift 7-1 lead, from which Cam- bridge was not able to recover.

Team captain Paul Allen told Cherwell, “Oxford’s man of the match has to be awarded to our reserve player Gavin Cheung, who, after a late drop out, only discovered he was playing two hours before the match. Gavin played exceptionally well, winning all four of his [frames] and compiling a personal best competitive break of 16.”

He added, “On the day, Oxford were too experienced for the newly formed Cambridge team but, with only four returning players, next year could be far more competitive.”

This was the first varsity men’s snooker match with Cambridge since 2003, when Oxford won narrowly by a score of 17-15.

Oxford hope for historical BNY Mellon Boat Race victories

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The Boat Race is the biggest event in Oxford’s sporting calendar. With 161 years of history (yes this is the 161st Boat Race) it is full of antiquity and prestige, and sees the best rowers at Oxbridge battle it out side by side for victory and glory.

So much work and training goes into the teams’ preparations, with 12 training sessions a week this year, and no doubt years of training before the teams are even able to trial.

The stakes are so high, with not only crowds of Oxbridge students lining the banks of the Thames screaming for their university, but also the millions watching on BBC One, on which it is broadcast each year. Let’s hope we can all watch Oxford race to glory this year and take victory in both men’s and women’s once more.

OUBC will be looking for their 79th victory over Cambridge, which will put them within just two victories of equalling Cambridge’s overall win tally. But what are the chances of this happening? And how likely actually is victory for Oxford?

One of the squad members, Rufus Stirling, told Cherwell, “The squad is looking strong this year. We don’t have many comparisons with Cambridge’s speed so far, but our focus is not on them – it’s on making sure we go as fast as we are capable of.” Let’s hope the Blues and Isis manage to take their third victory this April!”

Moving on to the women’s race, the President of OUWBC, Anastasia Chitty, let us know how the women are getting on.

Their race is of particularly special importance this year, as, for the first time in the history of their race, OUWBC will race against Cambridge on the same Championship course as the men, and it will also becovered on the BBC.

Anastasia is extremely excited about this change and the opportunity to finally race on the Championship course.

“To have the opportunity to be one of the first women to compete in the Boat Race, on the same stage as the men, is an absolutely phenomenal privilege.

“To be in a position where what we are doing will inspire girls and women to take up sport, and rowing in particular, is amazing! I want to row in the Boat Race primarily because I love rowing, but also because this race is unique and exciting.”

With this in mind, and the likelihood that far more of us will actually see this race along with the men’s, their preparations are potentially more important than ever before.

“The Oxford women are doing really well at the moment, encouraged by some very strong performances recently in match racing, the team are excited to keep moving forward over the next six weeks.

“Having had three seasons to get prepared for our move to the Tideway, we are confident that we are preparing well for this new chal- lenge.”

Like OUBC, they have not yet finished their trialling and selection process, and the final announcement of the crews will be made just after the end of term, on March 19th. Anasta- sia then went on to talk about training and the squad.

“Training will continue in much the same way as characterised the earlier parts of the season but with more time in our respec- tive crews and more opportunities to line up against some fast crews in match racing scenarios. The team is characterised by an extremely strong internal focus, and so the magnitude and pressure of the occasion seem often distant to us.”

It seems that everything is going accord- ing to plan and all the girls are staying calm and focused. This is obviously a great sign for Oxford, but what does the President think of our chances this year in the big race?

“This year, the OUWBC has an extremely strong team, and throughout the season we’ve had great racing performances which have given us confidence going forward. However, we know the Cambridge Women will be fast and equally driven to own this significant moment in history.”

The first Women’s Boat Race to be held over the four and a quarter mile Championship Course will take place on April 11th at 4.50pm, so make sure you don’t miss this historic occasion. If you are unable to make it to London and the banks of the Thames, coverage will start on the BBC at 4.15pm for all to watch.

The 161st Men’s Boat Race will follow the Women’s at 5.50pm and will also be covered on the BBC, so make sure you watch Oxford try and achieve a hat trick of wins over Cambridge in the Oxford sporting event of the year

"Soccer lends itself to being depicted in an iconic way"

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New York based illustrator Daniel Nyari is an industrious man. His art has appeared in a plethora of respected publications – The New York Times, The Guardian, FourFourTwo and more – and he is the Creative Director of Futbol Artist Network, a leading football-only art boutique. Bearing in mind my intimidating international phone tariff, I am keen to ensure our transatlantic interview stays on track.

Born in Romania, Nyari grew up in continental Europe, before moving to America in the late 90s. He inherited a passion for football from his father, who played semi-professionally and from a young age, he approached the beautiful game from an artistic angle.

“When I wasn’t playing or watching, I was drawing players,” he tells me, his subtly lilting accent crackling down the line. “I copied posters, Panini stickers, and these old school cigarette cards we had. I’ve always drawn footballers and when I became an illustrator, I wanted to make some of that work public.”

The influence these early drawings had on Nyari’s later work is immediately obvious in perhaps his most well-known illustrations: his portraits.

These framed head-and-shoulders are undeniably evocative of Panini stickers, but they are executed in Nyari’s own charmingly idiosyncratic style – a combination of block colours and precise shapes which captures the essence of the individual perfectly.

“I have an interest in reducing things to their bare elements,” he informs me, “which came from my time designing logos and websites. I always wanted to combine that with my traditional illustrations, so the football portraits are essentially exercises in thinking about faces in very reductive terms.”

“They look simple, but it can take up to 15 hours for one portrait alone. The most difficult ones to get right are the objectively good-look- ing footballers, like Olivier Giroud, who have very symmetrical faces with standard features that, culturally, we consider appealing.”

“With someone like Pirlo, on the other hand, it’s very easy to isolate their key characteristics. He has the big nose, the beard, the long hair. Then it’s all about the juxtaposition of his facial features; how I can scale down the size of his chin to emphasise the length of his nose, for example.”

“I have this idea that you can have 30 face templates, with very distinctive features, from which any face in the world can be made, just by combining different elements. A cheek from here, an eye from there.”

It seems churlish to refute Nyari’s claims, given his evident knack of achieving uncanny likenesses with the simplest, most elegant of patterns.

Clearly, this is a man who can see potency in the marriage of football and art.

“Soccer lends itself to being depicted in an iconic way,” he asserts. “A good artistic representation of football can be more engaging than a photograph.

“Everything that is inherently iconic about a moment, or a player, or a team, can be turned into a symbolic representation. It can be carved in stone.”

“I’m a football purist,” he tells me. “Because I’ve lived in so many places, I can’t pledge my allegiance to one team. I view football like I do art and movies. I can fall in love with different teams at different times. I was obsessed, like ev- eryone, with Guardiola’s Barcelona. Right now, I’m invested in Borussia Dortmund because of their narrative.”

As our interview nears the half-hour mark, with my next phone bill soaring, it finally descends, somewhat predictably, into fervent chit-chat about the Premier League.

“The thing about Mesut Özil,” Nyari remarks, “is that it’s very easy to transpose blame onto him. His body language stands out, so when Arsenal play badly, he gets a lot of unwarranted criticism.”

“You’re totally right,” I agree, “and I think he has been playing really well since he returned from injury.”

My out-of-plan charges continue to rise

Polo Club Cuppers Hilary 2015

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The second Polo Club Cuppers of the academic year took place on Saturday 28th February 2015, to light drizzle and the backdrop of the beautiful Oxfordshire countryside at Holbrook Farm in East End, Witney. Teams from five colleges – New, St Catherine’s, Wycliffe, University, MBAs (representing the Saïd Business School) – competed for the chance to challenge for St Peter’s title as the Cuppers reigning champions, who had also returned to defend it. The teams were comprised of players with ranging abilities, from those new to the game at the beginning of Hilary, to seasoned players returning from participation in the SUPA nationals last weekend.

The opening chukka saw Wycliffe pitched against the MBAs, who won 3-0 despite excellent play by Wycliffe’s team. Nevertheless, Wycliffe showed steady determination from chukka to chukka, just losing out 2-1 to New College (winning goal scored by Emmanuel Hermeneus-Efunbote in the closing minutes) before earning a close-fought victory on pen- alties, closing with a 1-1 draw with Univ.

The effective communication between Univ’s players earned them another draw in their chukka against St Catherine’s, whose defensive strategies had redoubled in the face of their previous 5-1 defeat by Peter’s. St Catherine’s continued to improve, winning the penalties, which formed the culmination of their hard-fought chukka against New and earning St Catherine’s third place in the over-all competition. Univ continued to fight as they challenged St Peter’s, with Jack Edwards in particular playing a strong defence in his tenacious ride offs.

Peter’s were eventually successful, however, and went on to the final against the MBAs team, who played a strong, collaborative chukka. Nonetheless, Peter’s ultimately managed to retain their Cuppers crown, scoring 6-1 by the final whistle, which awarded second place to the MBAs. Special mention must go to Adam McKay of the MBAs team, whose player assistance and sharp responses to the changing line of the ball earned him the title of ‘Most Valuable Player’.

The atmosphere was wonderfully upbeat despite the gloomy weather, with spectators cheering on teams, sharing cake, and helping in the changeovers by holding ponies and adjusting stirrups. Particular thanks must go to Peter Derby, for capturing the event beautifully with his photography, and to David Ashby, Tom Meyrick, and the staff at Holbrook Farm, whose hard work and love of the game continues to make the Oxford University Polo Club possible.

OUPC are looking forward to our white tie ball at Blenheim Palace on March 6th, round- ing off a busy Hilary term with celebration and expectation of things to come in Trinity, as the grass season begins again.

Teams: New (Emmanuel Hermeneus- Efunbote, Lucas Wessling, Freddie Hamilton); St Catherine’s (Sally Cactús, Sarah White, Eline Thorup Ringgaard); Wycliffe (Nikolas Gower, Katie Paul, Artur Kotlicki); St Peter’s (William Hsu, Kuang Jacky He, Christiaan De Koning); Universtiy (Ryan Mao, Alex Goddard, Jack Edwards); MBAs (Adam McKay, Kasey Morris, Andrew Li) 

OUSC continue supremacy in pool

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After months of tough training, hours of effort, aches and pains, and numerous dark cold mornings, V-Day had finally arrived for Oxford University Swimming Club. On Saturday 28th February, OUSC continued their supremacy in the pool, taking the tabs for the fourth year running.

Records were broken, personal bests smashed, and tabs shoed, as Oxford rose to an overall victory, beating Cambridge by an exceptional margin of 110 to 67 points, improving on last year’s success and reach- ing just shy of the historical record-breaking scores of 2013.

Despite a valiant effort from Cambridge, both the men’s and women’s teams won their respective titles. The men dominated from the start, leading Cambridge 26-14 after the first four events, eventually coming through to win 57-33.

Meanwhile, the women’s contest began with the two teams neck and neck, tied on 20 points after four events. However, a clean sweep in the relays eased the road to victory with a final score of 53-34, improving on the previous year’s winning performance.

The unique nature of the varsity format tests the all-round strength of the entire team, with each swimmer limited to a maximum of three races. The programme consists of seven individual events and two relays for both the men and women: a 100m for each stroke (freestyle, backstroke, breaststroke, and butterfly); a 200m Individual Medley (a combination of all four strokes); 200m and 400m freestyle; and finally four 50m freestyle and medley relays for the women and four 100m relays for the men.

Each race is a head-to-head showdown between two representatives from the Oxford and Cambridge teams, with the winner securing four points, second place three points and so forth. However, relay positions can change everything. Each university puts forward only one team, with the winner taking seven points and the loser three. Therefore, tactics and strategy are everything, with the emphasis strongly on the team rather than individual performance.

Highlights of the day include a record- breaking swim from men’s captain Xander Alari-Williams in the 100m breaststroke, and the 200m and 400m freestyle performances from Commonwealth silver medallist and ‘Swimmer of the Match’ (the much preferred title I’m sure), Heerden Herman. Star performances also came from President Naomi Vides, who won both the Individual Medley and the 400m freestyle, as well as contributing an exceptional swim to the women’s 50m freestyle relays. Swimming alongside the women’s captain, Rachel Andvig, they provided a strong lead for Millie Marsden and Holly Winfield to finish and secure the final win.

Great swims also came from some of OUSC’s newer members; freshers James Ross and George Stannard obtained Blues times in the 200m freestyle and 200m Individual Medley respectively, earning them their much deserved Blues. Also special mention to OUSC veteran Kouji Urata, who added a seventh Blue to his collection.

The strength and depth of talent on the team will hopefully ensure that the team will continue be a force to be reckoned with in years to come.

Unfortunately for OUSC, the season has not yet ended and we will be back to the grind at 7am on Tuesday morning. A select team will be heading up to Sheffield for BUCS Team Finals at the end of 9th Week and in Trinity Term a host of open water events will be taking place for the braver amongst us.

So OUSC will get to retain their trophies for another year, despite being reproached by Cambridge for failing to polish them. But what can we say; the inevitability of keeping trophies for consecutive four years is that they are going to gather dust

Paris: five exhibitions in five days

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Working in Paris during my year abroad, I expected to spend most of my free time swanning around art galleries, tumbling through the Louvre with a sketch book in one hand and a cigarette in the other. Alas, I ended up frittering most of my weekends away in a drunken haze of bars and questionable Parisian nightclubs. But as I reached my final week in Europe’s capital city of culture, I decided to set myself the ambitious target of visiting five exhibitions in five days. Not a challenge for the faint-hearted – especially when you’re working full-time. But I am proud to say that I survived. And here’s what I thought of them all.

Sunday: ‘Haiti’ exhibition at the Grand Palais (19/11/14-15/02/15)

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Unlike the French, the Brits lack any shared heritage with Haiti. Consequently, we tend to take little interest in Haitian art. This is a pity: over the last two centuries, Haitian artists have come to the fore in the emerging Caribbean art market. I decided to see what all the fuss was about, and found myself at the Grand Palais’ exhibition, celebrating the last two hundred years of Haitian art.

This exhibition had a quirky layout, with different artworks clustered around half a dozen main ‘thematic totem poles’: among them, Spirits explored the relationship between voodoo and Catholicism, Chiefs explored Haitian politics, and Tête-à-tête looked at the art inspired by the 2010 Haitian earthquake. This was a real opportunity to discover some brilliant artists that I wouldn’t have encountered in England, and it would be wonderful to see the likes of Sasha Huber, Pascale Monnin or Maksaens Denis over on our side of the pond.

Monday: ‘Une histoire, art, architecture et design, des annés 80 à aujourd’hui’ exhibition at the Georges Pompidou Centre (02/07/14-07/03/15)

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The Pompidou Centre does a fabulous job of marketing its exhibitions on its website, so I entered this ‘contemporary collection’ with high hopes. I was not disappointed. This vast exposition involved walking through twenty-odd different rooms, with film screenings, a sound lab and a free guided tour that I dipped in and out of every so often. 

As with many modern art exhibitions, some sections left me a bit perplexed. I walked into a room full of retro-looking chairs and wondered whether I hadn’t entered a DFS sale by mistake. But I also got a real sense of the kinds of anxieties that plague today’s artists; in particular, whether their freedom to criticise the commercial world should be compromised by their reliance on corporate sponsors for funding. Artists to watch include Pierre Joseph, Malachi Farrell and Sophie Calle.

Tuesday: ‘Je n’ai rien à te dire sinon que je t’aime’ exhibition at the Musée des Lettres et Manuscripts (16/09/14-15/02/15) 

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I sneakily called in sick in the morning and hurried over to Saint-Germain to catch this exhibition as it was opening. Charting the depiction of love from Plato through to the Twentieth Century, this was definitely a change of pace from the fast-and-furious modern art exhibitions I’d been to earlier in the week. I was particularly taken by Léon Bloy’s ‘lettres d’amour’ to his fiancée – every inch of the page was literally crammed with declarations of his love. Letters from Jean-Paul Sartre, Napoleon, Brigitte Bardot and Mick Jagger were also real highlights, and I was left feeling rather nostalgic for the lost art of letter-writing. 

Wednesday: ‘The Inhabitants’ exhibition at the Fondation Cartier (25/10/14-22/02/15)

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To celebrate 30 years of exhibitions at the Fondation Cartier, Guillermo Kuitca came up with a collaborative artistic project: ‘The Inhabitants‘. In hindsight, I could probably have given it a miss. Student tickets were €7 – a little pricey, considering there were only about a dozen artworks spread over the two exhibitions. After the first floor (which admittedly housed the fun semi-interactive-light-show-esque installation Musings on a Glass Box) we were shepherded downstairs to a pretty unremarkable series of rooms. Two interesting exceptions were a Francis Bacon portrait and Inhabitants (1970), an explosive short film from Artavazd Pelechian.

The ‘main event’ was a side room put together by film director David Lynch: covered from top to bottom in red felt, bedecked with zebra-patterned armchairs, and overshadowed by a female voice rattling through a nonsensical prose poem; an interesting experience by all accounts. Overall, however, it felt a little gimmicky.

Thursday: ‘7 ans de réflexion’ exhibition at the Musée d’Orsay (18/11/14-22/02/15) 

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With my Eurostar booked for 10am on Friday morning, I just about had time to run into the Musée D’Orsay on my final evening in Paris. The ‘7 ans de réflexion’ exhibition was curated to show off the D’Orsay’s most impressive acquisitions since Guy Cogeval was appointed president in 2008. The exhibition’s layout was a bit clinical, but I couldn’t fault its breadth of focus: each room told a completely different story, from Twentieth Century painting in Northern Europe, to architectural sketches, to the continuous overlap between French art and literature. Although I didn’t learn a huge amount about the periods covered, I left with a strong sense of what makes curators tick at the Musée D’Orsay, and the complex acquisition policy for works of art.

So if your workload miraculously clears over the next few weeks and you fancy popping over to Paris for the weekend, I highly recommend paying a visit to the Grand Palais, Pompidou Centre and Musée D’Orsay exhibitions mentioned above. They certainly managed to hold my attention – and that’s saying something.

Monumental Art: Composition No. 8

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This week, in the latest installment of our series looking at monumental art, we’re immersing ourselves in the vibrant and joyful hues of Wassily Kandinsky’s masterpiece Composition No. 8, painted in 1923.

It is a reflection of the artist’s movement towards pure abstraction and is a perfect realisation of the increasingly influential idea of separating object from form, which had been developing from the start of the Twentieth Century. 

The painting is large – approximately one and a half metres by two – and dominates the viewer’s gaze. But after the first striking moment of contact, we are drawn in by the intricate details of line and colour. Geometric shapes are spread in front of us on a quiet background of pale blue, yellow, and white. Unlike in the earlier compositions of this series, this background allows the shapes to become the focus of our gaze, whilst colours form relationships across the canvas, tying the red circular form on the left with the small square on the right. 

The criss-crossing lines that meet across the canvas direct our gaze to the different moments of collision where the separate forms come together. The colours move from a soft haze of red and blue on the left of the canvas to the harsher whites and greys on the right. You can almost see the progress of the musical piece, which the work mirrors in its own way.

The recurrent semi-circles are also very noticeable, spanning their way across the canvas until they are met with a line that crosses them, signalling the start of a new movement.

Themes recur and vary, the painting adopting the structure of the rise and falls of a symphony. Looking at Composition No. 8, one cannot help but recall Walter Pater’s comment, “All art constantly aspires to the condition of music.” In this piece, Kandinsky moves beyond a centrally focused subject and achieves a unity of form, reflected in the recurring circular motif.

We are swept along by the movement, evoked through the forms and hues which seem to pulsate on the canvas, eliciting an almost physical response. We can almost hear the mixing of yellow with blue, of line with curve. 

The strong impact of this technique is best understood when viewed in the context of Kandinsky’s approach to the painting. It is now widely presumed that the artist experienced synaesthesia, a neurological condition which allows the experiencing of multiple senses simultaneously. When painting Composition No. 8, it is important to consider that he may well have literally been seeing sound. On top of this, he was heavily influenced by the colour theories of Rudolf Steiner, as well as by the new musical theories of Arnold Schoenberg.

In Composition No. 8, one can see Kandinsky moving away from his work with the Blue Rider group, with whom he had previously been involved with in Germany, and towards the abstract expressionism for which he is now most widely recognised.

In this piece, and the series which surrounds it, he developed his focus on painting as a form through which to evoke the feeling of subject over direct representation of the subject itself. It is a highly evocative piece, and works on both a monumental and detailed scale, repeatedly drawing viewers in anew.